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The spot opens on a posh cocktail party, where a bored redhead's attention lingers to an abstract painting on the wall. Peering closer, she spots a small car zipping along the thick brush strokes. Suddenly, from inside the auto we see her happily winding along a fantastical highway in a computer generated landscape, eventually speeding off toward a paint horizon.

The Leo Burnett creation is one of two special-effects-laden :60s for Oldsmobile's new Aurora, directed by Bill Timmer at Industrial Light & Magic, where the spots were also posted and edited. The twin flights of fantasy-in the other, a man on a couch watches as astronauts assemble an Aurora in space-are aimed at an upscale audience that might be ready for a really new car, says writer Ted Naron. "There's a feeling of destiny in the commercials."

Other credits to writer Rory Monaghan, art director Bud Watts and group creative director Greg Taubeneck. The music, Copland's Appalachian Spring, was adapted by Manny Menelson at Comtrack, Chicago.

An Ogilvy & Mather/New York campaign for American Express' "Dine Out America" series is an ambitious undertaking, featuring the caricatures of more than 1,000 restaurateurs, rendered by the likes of Robert Risko and Philip Burke. Even more difficult was getting the restaurant owners, who paid to be in the regional magazine and newspaper ads, to approve their portraits, says AD Michael Hammond. "Some of the restaurateurs hated the illustrator's style," Hammond says. "They wanted to look younger or lose 20 pounds."

Other credits to art director Eric Anderson, writers Marc Lucas and Neal Gomberg, designer Phillip Hunsaker and CD Rick Boyko. Handlettering by Bernard Maisner. Sandy Huffaker illustrated the ad featured at left.

Ludicrously moussed and mouthing off, radical skier Glen Plake, his sport's equivalent of Andre Agassi, makes the most of his bad-boy image in a new TV campaign for K2 skis from WongDoody, Seattle.

Longtime product spokesman Plake resurrects the company's "balls out, rock 'n' roll attitude," which creative director Tracy Wong says had been dormant for the last few years. The ultra-low budget spots, directed by Wong and created mostly in postproduction, are meant to pay homage to the extreme-skiing movement that Plake has come to personify; one ad, for example, combines a closeup of Plake's spiked head against a black backdrop and diagrams of the tallest mountain on Mars as he rants about what it will be like to ski it (he's on his way there in a space ship).

Additional credits to copywriter Craig Hoit and animator/editor Zach Pahl of

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